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With Schoenberg, I tend to take every opportunity I can — at least since my first visit to the Salzburg Festival, when understandably I chose to see Figaro over Boulez conducting Moses und Aron, though I have rued the loss ever since.
As the Britten centenary events draw to a close, the Birmingham Royal Ballet are offering one final highlight: a new version of Britten’s only ballet, The Prince of the Pagodas, with choreography by David Bintley.
Nashville Opera Artistic Director John Hoomes set the opera as Violetta’s dying dream, so colors and other aspects of the backgrounds were symbolic and bright.
Will wonders never cease? Wheat stalks 6 meters high? Rats 2 meters tall. Setting Donizetti’s little comedy amidst biological mutations engendered by Chernobyl does seem a bit farfetched.
Handel’s great opus, Rodelinda, at English National Opera on
Friday night was the latest in the Coliseum’s recent run of new and
co-produced productions, and also renowned director Peter Jones’ latest foray
into the world of opera.
On Sunday afternoon, February 23, 2014, San Diego Opera presented The Elixir of Love in a traditional production by Stephen Lawless.
Billy Budd, portrayed by handsome lyric tenor Liam Bonner, is a charismatic embodiment of innocence.
This was in almost every respect an excellent performance — which therefore exacerbates the problem lying at the heart, or whatever it is that lies in its place, of the work itself.
Bilbao is always news, Calixto Bieito is always news, Carmen with a good cast is always news. So here is the news.
French mistresses are much in the news these days, and now the Théâtre du Capitole’s new production of Donizetti’s La Favorite has added considerable fuel to the fire.
In a 1960 BBC interview, Britten explained to Lord Harewood: ‘I was very much influenced by [W.H.] Auden
Michael Tippett’s opera King Priam premiered as part of the
same arts festival in Coventry for which Britten’s War Requiem was
written and in fact the two works have something in common, dealing with the
issues of war and its consequences.
In Lyric Opera of Chicago’s recent performances of Johann Strauss’s
Die Fledermaus several debuts are notable to both American and Chicago
One wonders if it wasn’t rather risky of ENO to stage a new version of Rigoletto when Jonathan Miller’s ‘mafioso’ production, which served the company so well for a quarter of a century, is still fresh in opera-goers’ minds and hearts?
Its soothing wooden walls gently bathed in aquamarine light, the very modern Hall at King’s Place made a surprisingly fitting venue for a musical journey to the intimate Elizabethan chamber.
A handsome new production, beautifully staged in Marseille’s fine old opera house cried out for a cast to make the opera bel canto.
Harry Bicket and the English Concert brought Handel's wonderful late oratorio Theodora to the Barbican on Saturday 8 February 2014 after a Tour in America and now taking in Birmingham, London and Paris.
Opera in the British Isles might seem a rather sparse subject in the period 1875 to 1918. Notoriously described as the land without music, even the revival of the native tradition of composers did not include a strong vein of opera.
It is not often that a Aaron Copland's The Tender Land comes along with resources like those of the Opéra de Lyon, one of Europe's finest. So carpe diem!
Kasper Holten’s new production of Don Giovanni at the Royal Opera
House risks laying the house’s Director of Opera open to charges of
antiquated mores and misogyny: for he seems to suggest that the women are just
as bad, if not worse, than their seducer — and that a soulful man who seeks
genuine love is likely to find his ‘ideal beloved’ forever out of reach.
23 Aug 2009
The bravura performance by Ferruccio Furlanetto in the title role is spoiled by the kitschy and incoherent staging of this production. Mefistofele is unique among operas based on the Faust legend in that it rather closely adheres to Goethe’s version.
Indeed, the original, no longer extant,
version of this work was approximately six hours in length. Even in the
severely truncated revised version, Mefistofele has always proven
itself to be a serious work, with a libretto that (like Busoni’s
Doktor Faust) has some real literary merit. Unfortunately, following
the reigning spirit of Regieoper in Europe, director Miguel Del Monaco
and set designer Carlo Centolavigna have all but denuded this great opera of
its serious intent.
Opting for a 20th-century setting (which in and of itself is not a problem),
the “creative” team behind this production has missed the central
point of Boito’s (and by extension, Goethe’s) drama, namely, the
age-old Platonic opposition of the real and the ideal, in this case,
represented by the Margherita/Elena (Helen of Troy) duality. While the
ever-reliable Dimitra Theodossiou is afforded the opportunity to continue the
tradition of performing both roles, the intention behind this appears to be
economic rather than dramatic.
Act I is set in Frankfurt during Easter Sunday, but it is in the Germany of
the 1920s, not during Martin Luther’s time. This is at best a
questionable tactic because the seemingly peaceful interregnum of the Weimar
Republic had such terrible consequences in the following decades. Overloading
the already heavily-laden symbolism of the Faust legend with the tragedy of
modern German history helps to obscure Faust’s personal dilemma. Adding
to the incoherence of the staging, Del Monaco then proves not to have the
courage of his convictions by at least being consistent with the historical
implications of his staging of Act I, and sets Act IV, the Night of the
Classical Sabbath, in Las Vegas. Helen of Troy is reduced to being a showgirl
in a tawdry stage show and her attendant Nymphs reminded me of the June Taylor
Dancers who used to open the Jackie Gleason TV Show of the 1960s with overhead
shots featuring kaleidoscopic choreography.
The ultimate consequence of this staging of Mefistofele is that the
characters of Faust and Margherita/Elena are reduced to mere appendages of
Mefistofele’s mercurial personality. One of the problems with this opera
has always been the overshadowing of Faust and Margherita by Mefistofele. Del
Monaco’s staging has exacerbated tenfold this dramatic disparity.
The one saving grace of this production is Ferruccio Furlanetto’s
Mefistofele. His performance incorporates a spectacular bass voice with
animated acting. The acting, at times, may appear to be a bit over the top, but
it is forgivable given the imbecility of the staging. Indeed,
Furlanetto’s performance helps to divert attention away from the visual
and back to the musical, and for that we must be grateful.
To be charitable to the performers, I thought that the singers and orchestra
performed rather well, but at times it was difficult to gauge this accurately
since this DVD suffers from very poor balance. Even allowing for the recording
difficulties inherent in a live performance, there is really no excuse in this
day and age for a professionally recorded DVD to have such poor audio
This DVD will have appeal mostly to fans of Ferruccio Furlanetto. My advice
is to turn off the video and listen to the voice.
William E. Grim